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figure with six heads, arms, and legs astride crouched bull on wood base; metal bands around wrists, some biceps, and most ankles; halo with flames attached at back; two hands of two arms together in praying position, other arms bent and flare outwards. Upper left arm holds long staff, lower one holds implement with "curly q"-shaped end. Upper right arm holds a trident. Lower right arm fingersshaped like it was holding something in hand. Three bottom heads have crystal inlay eyes. Three smaller heads on top considerably smaller. — Daiitoku Myōō, the Wisdom King of Awe-Inspiring Power, second half 13th century
Japan

G220

unsigned; left of a pair of six-panel folding screens; many scenes against gold leaf background; edge of building on left panel with snow; building at top across panels three to six the many seated figures wearing black with a few wearing red and blue; procession in LR of panels five and six with figures in black carrying covered dias and pulling two green carriages behind — Autumn and Winter [left of the pair Scenes from the Tale of Genji in the Four Seasons], mid 17th century
Not on View

Naraen Kongo, standing figure with arms down, mouth closed. Made of Hinoki wood in yosegi technique of multiple block construction with traces of gesso and polychrome. — Vajra Warrior (one of a pair), mid 14th century
Unknown Japanese

G205

Gesso, color, kirikane on wood, metal — Jizō, the Bodhisattva of the Earth Matrix, early 13th century
Unknown Japanese

G220

Portrait Sculpture of Priest Gyōki, Japan — Portrait Sculpture of Priest Gyōki, early 17th century
Japan

G220

unsigned; right of a pair of six-panel folding screens; many scenes on gold leaf: attendants with carriages at Land center among pine trees and clouds; interior scenes at top: male figure in red inside open walled room; court women at top center with pulled screens; trees; interior scene at R with court women in large robes admiring art on scrolls; group of robed men among blossoming cherry trees at UR — Spring and Summer [right of the pair Scenes from the Tale of Genji in the Four Seasons], mid 17th century
Japan

Not on View

Misshaku Kongo, standing figure with one arm raised, mouth open. Note Nio means Benevolent Kings. Made of Hinoki wood in yosegi technique of multiple block construction with traces of gesso and polychrome — Vajra Warrior (one of a pair), mid 14th century
Unknown Japanese

G205

Amida, the Buddha of Infinite Light, Unknown Japanese — Amida, the Buddha of Infinite Light, 12th century
Unknown Japanese

G200

suit includes helmet with praying mantis maedate (forecrest), menpo (face mask), torso covering, pair of front shoulder medallions that attach to torso covering, pair of large upper arm guards, pair of small shoulder coverings (each with a pin for attachment), pair of gauntlets with arm and hand guards, apron, pair of tsutsu suneate (leg guards), and pair of kote (boot coverings); see Components for descriptions of each piece — Red-and-blue-laced Suit of Armor from the Kii Tokugawa Family, mid 17th century
Suit by Unknown Japanese; Artist: Helmet by Saotome Iechika

G219

small standing highly stylized figure with very large coffee bean-type eyes; PR lower arm missing; openings at top of head and at bottom; upturned pig-like nostrils; textured body covered with scrolling designs; looping scrolls around stomach/navel and between breasts; small, widely spaced breasts with pronounced nipples; repeating incised zigzags with textured areas on back of head/hair; dark/black patina — Figurine of a Female, 1000-800 BCE
Japan

G205

flat gold bridge at right; stylized brown waves on water; water wheel at left; weeping willows at ULC and LRC — Willow Bridge and Water Wheel (Uji Bridge) [left of a pair], second half 16th century
Unknown Japanese

Not on View

Parinirvana of Sakyamuni, the Historical Buddha, Unknown Japanese — Parinirvana of Sakyamuni, the Historical Buddha, 14th century
Unknown Japanese

Not on View

bowl with rounded square shape with rounded corners; three small square feet; blue-grey with white slip design of twining flowers; arc-shaped trellis (?) at one side; lines and scrolls around border; deep swirl at bottom center — Plate with grapevines, trellis, and geometric design, late 16th century
Japan

G225

rectangular sake container with two gold ducks swimming away from a sprig of reeds on either side; small, graceful willow with lotus leaves on shore on both short ends; grass design on top with spout top center — Sake container with design of ducks, 17th-18th century
Japan

G221

standing wooden figure with shallowly carved draping robes with small tie at waist; peaceful expression on face; long earlobes and squared hat; figure is missing entire PR arm; PL arm is missing below the elbow, but it is apparent arm is bent forward at elbow — Bonten, the Creator, late 10th century
Japan

G220

flower vase with squat, round body, high neck, and high foot; ornately decorated with figures in relief; figure of a sage and a crane on each side of neck; two handles — Vase with Rin Nasei (Ch. Lin Hejing) and crane, 18th-19th century
Japan

G225

white heron about to alight on a shore near a jagged branch, with wings spread and legs splayed; smaller heron near LL wading in grasses along shore; against gray background — Herons, 17th century
Japan

G221

tea caddy, large, katatsuki shape, irregular surface; dark brown glaze, slightly flared shoulder, short neck; tapers subtly at base; ivory cover with tiny finial and incised concentric lines around finial — Tea caddy, late 16th century
Japan

G224

seated Buddha; PL hand in lap with open palm, index and thumb loosely touching; PR hand up, with index finger and thumb touching; two-tiered knobby hair, long earlobes; traces of red pigment on robes; seated on wide, stylized lotus on round base — Amida, the Buddha of Infinite Light, early 12th century
Japan

G220

unembellished cup with lid and saucer; small finial on top of lid — Container for rubbing incense, 14th century
Japan

G220

jar with three incised lines around widest part; high neck, slightly flaring mouth with incised lines around outside; remnants of tan ash glaze — Jar, 3rd-7th century
Japan

G205

cup with three lobes; beige in color with underglaze design of diving birds in darker color; darker glaze around lip; incised line below lobes where cup rounds out to bottom — Ash container with three birds, late 16th century
Japan

G225

bronze ritual bell with handle in the shape of a five-pronged vajra, handle stem and bell shoulder decorated with lotus petal design; probably intended for use in Esoteric Buddhist rites — Ritual bell with handle in the shape of the vajra, 18th century
Japan

G220

standing female figure holding a jewel in extended PL hand; holds PR hand open and down in blessing greeting; long robes with long, rippled sleeves; stands on red base — Shri-mahadevi (Kichijōten), first half 14th century
Japan

G220

standing figure with a conical hat with ear flaps, long skirt and cloak draped over the left shoulder; figure is standing on rock formation with palms up and crossed at the wrist across the chest; base — Zaō Gongen, Manifestation of Mount Kinpu, 12th century
Japan

G220

incense burner in the shape of an antique Chinese bronze basin with three legs, tall slotted handles and lid; lions in relief over a tao-tieh design on front and back and larger lion with ball on the top on a cloud design of the lid; perhaps originally coated with black lacquer — Incense burner with Chinese lions, 16th century
Japan

G220

underglaze cobalt blue design of reserved panels of flowers and birds separated by scrollwork with birds and flowers; vertical band of triangles and more scrollwork on lid — Apothecary bottle with mynas and peonies, c. 1660-1680
Japan

G222

landscape scene with dark blue water and puffy gold clouds, brown rice fields, trees, mountains; a few huts amid fields; small temple complex on a peninsula; people on boats — A View of Ama no Hashidate, early 17th century
Japan

G219

dark gray pitcher with bulb-like body, short neck, and dramatically flared mouth; mouth flare is actually wider than body; hole in side of body; rounded bottom — Jar with flared mouth, 5th century
Japan

G205

one of four: dish with high walls and deep scalloped cutouts on each edge, creating dramatic, irregular square shape; textured, beige over glaze against dark brown underglaze; beige over glaze on bottom lightly brushed around bowl; subtle blue vine accents on underside at cutouts — Set of food dishes (mukōzuke), early 18th century
Japan

G225

one of four: dish with high walls and deep scalloped cutouts on each edge, creating dramatic, irregular square shape; textured, beige over glaze against dark brown underglaze; beige over glaze on bottom lightly brushed around bowl; subtle blue vine accents on underside at cutouts — Set of food dishes (mukōzuke), early 18th century
Japan

G225

one of four: dish with high walls and deep scalloped cutouts on each edge, creating dramatic, irregular square shape; textured, beige over glaze against dark brown underglaze; beige over glaze on bottom lightly brushed around bowl; subtle blue vine accents on underside at cutouts — Set of food dishes (mukōzuke), early 18th century
Japan

G225

longbow with reddish colored lacquered wrapping forming spiral pattern around bow; dark grip; dark reed bands at grip, top, and bottom — Longbow, 19th century
Japan

G219

black bow with repeating thin bands of wrapped reeds; each band has gold outline; small decorative swirly knot on face below grip — Longbow, 19th century
Japan

G219

orange lacquered bow with dark woodgrain pattern; leather and wide reed grips — Longbow, 19th century
Japan

G219

black lacquer longbow with decorative reed bands; reed bands at top and bottom have decorative knotting on outside face — Longbow, 19th century
Japan

G219

thin, reddish longbow with groupings of narrow reed bands; reed grip — Longbow, 19th century
Japan

G219

longbow burnished with silver, with red coloring peeking through; marbled pattern of red, black, and gold at top and bottom ends of bow; wide reed upper grip, with leather strip lower grip — Longbow, 19th century
Japan

G219

flat, wide, outward-flaring rim; protruding triangular band around thick neck; shallow grooved line drawn into edge of rim; two black spots on body, one on rim; tan patina; small flat foot — Wide-Mouthed Jar, 1st century BCE- 1st century CE
Japan

G205

flat bottom; bulbous, slightly flattened bottom section; vertical wide neck with ribs; pair of irregular blocky handles; thick inverted mouth ring; entire piece intentionally asymmetrical/misshapen/slightly collapsed, with broken incised wavy line on bottom section and inherent cracking; green, light brown and tan glaze; brown lacquer cover with faceted top knob — "Burst bag" Freshwater Jar, late 16th - early 17th century
Japan

G224

One of two jars Japan’s first ceramic culture, the Jōmon, produced strongly tactile pottery over 3,500 years ago. This lavishly decorated bowl was probably used during religious ceremonies. Its flamboyant rim, a typical feature of the middle period of Jōmon pottery, is known as the “fire-flame” type, because the coils of clay resemble leaping flames. The word jōmon, after which the historical period is named, means “cord markings” and derives from the distinctive patterns produced by rolling a rope-wrapped stick across the surface of the clay. The lower portion of this vessel bears these markings, together with whimsical designs carved into the surface of the clay. — Deep Bowl with Four Projections, 2500-1500 BCE
Japan

G205

studded helmet with short visor at front and four-tiered, wide spreading laced neck guard; curving face protectors with decorated buckskin, studs, and crests; heraldic metal disc with Sanskrit characters for the Buddhist deity Fudo; pair or thin, bladelike metal kuwagatas at front center with heart cutouts; neck guard held together with green ties; ochre colored knots around borders; has wooden stand — Helmet with ornament bearing seed syllable for Fudō Myōō, 17th century
Japan

G219

small irregularly gourd-shaped ceramic vessel; goma splash glaze; concave bottom; brown glaze with rust and gold areas; ivory lid lined with gold leaf; has storage box — Tea caddy, late 16th century
Japan

G224

standing wooden figure with flame like hair, and fierce expression wearing warrior clothing; wide stance with PR hand clenched in fist toward chest; PL hand clenched in fist with index finger pointing outward; base with carved and painted waves — Makora, one of the Twelve Divine Generals, early 14th century
Japan

G220

round bronze disk mounted to wood; raised figure seated on lotus at center, with PR hand resting in lap, and PL hand at heart clutching delicate metal flowers; elaborate golden filigree behind figure; tall urns with delicate wire and bounded metal lotus leaves on either side of figure; thin metal "awning" above figure with lotus detail and hanging charms; lion head with claws on either side of top; border with round studs — Kakebotoke, 14th century
Japan

G220

brown body; top band of butterflies and flower scroll, bordered by blue band and rows of black circles; lappets below alternate colorful birds and dragons; green interior; enamels in lappets suffused with copper shavings ("goldstone" technique) — Vase, late 19th century
Japan

G239

vest-like garment; green wool; horizontal tab with button closure on chest; black frogs with white button holds down vertical front flaps at upper chest; front flaps are metallic gold and tan brocade; yellow wool elements on shoulders embellished with blue crisscross stitching; white wool applique on upper back of three leaves inside a circle; off-white lining fabric woven with white-on-white diamond patterns — Campaign vest (jinbaori), 19th century
Japan

G219

vest-like garment; body made thickly-twisted rust colored paper fibers; front vertical flaps and lining of printed fabric--green printed with orange butterflies and foliage; yellow wool shoulder decorations embellished with light blue crisscrosses; medallion on upper back of white wool in the form of a bird with outstretched wings — Campaign vest (jinbaori), 19th century
Japan

G219

black and gold helmet in the form of a dragonfly, with its tail extending upward; two large gold eyes; two removable dull gold pairs of wings; thick braided purple silk cord tie at neck — Helmet in dragonfly shape, 17th century
Japan

G219

one of four: dish with high walls and deep scalloped cutouts on each edge, creating dramatic, irregular square shape; textured, beige over glaze against dark brown underglaze; beige over glaze on bottom lightly brushed around bowl; subtle blue vine accents on underside at cutouts — Set of food dishes (mukōzuke), early 18th century
Japan

G225

squat, dark brown container with flat shoulder; very short neck, rolled lip; drips down side of darker, iridescent over glaze on sides; ivory cover with incised circle around tiny knob; comes with three cover pouches: purple; light stripes with cloud pattern; beige metallic brocade — Tea caddy, late 16th - early 17th century
Japan

G224

standing female figure with proper left arm bent, hand at side; flat mask like face, adorned by earrings and necklace; ridged dress extends to floor covering legs and feet — Haniwa of a Female Shrine Attendant, 6th century
Japan

G205

small, double pointed object with five prongs converging to form each point; center decorated with petal and concentric circle motif — Five-pronged vajra, late 14th century
Japan

G220

jar, with brown to olive glaze; high-fired stoneware — Tea leaf storage jar, 17th century
Japan

G224

Incense burner, 13th century

Japan

G220

red-brown jar with mottled ochre colored glaze around shoulder and down one side; four bow-like decorations around shoulder; short, vertical neck — Tea leaf storage jar, late 16th century
Japan

G224

irregularly shaped tan jar with bulbous, wasp-nest shaped base, long neck, wide mouth; flecked, dripping brown overglaze, mostly on one side; comes with rattan ring — Recumbent vessel with long neck, 7th century
Japan

G205

jar with narrow base, wide shoulder, narrow neck, and incised lip; concentric incised lines around neck, shoulder, and portion of center; light greenish glaze — Vase in meiping shape, 13th century
Japan

G224

Benkei with Halberd, Japan — Benkei with Halberd, second half 17th century
Japan

G219

leaf shaped dish; pale green with brown rim; inside of dish dark green starburst bottom center; curved dark green shape left of starburst; curved dark blue shape above starburst — Set of leaf-shaped food dishes (mukōzuke), 1660’s
Japan

G225

leaf shaped dish; pale green with brown rim; inside of dish dark green starburst bottom center; curved dark green shape left of starburst; curved dark blue shape above starburst — Set of leaf-shaped food dishes (mukōzuke), 1660’s
Japan

G225

leaf shaped dish; pale green with brown rim; inside of dish dark green starburst bottom center; curved dark green shape left of starburst; curved dark blue shape above starburst — Set of leaf-shaped food dishes (mukōzuke), 1660’s
Japan

G225

leaf shaped dish; pale green with brown rim; inside of dish dark green starburst bottom center; curved dark green shape left of starburst; curved dark blue shape above starburst — Set of leaf-shaped food dishes (mukōzuke), 1660’s
Japan

G225

leaf shaped dish; pale green with brown rim; inside of dish dark green starburst bottom center; curved dark green shape left of starburst; curved dark blue shape above starburst — Set of leaf-shaped food dishes (mukōzuke), 1660’s
Japan

G225

silk kimono and vest; blue and white alternating bands; printed carp design at right angle to bands; yellow lining — (Boy's Kimono), 1868-1912
Japan

Not on View

Gold rim with raised designs; spray of large flowers with raised gold outlines and green, brown, and red highlights; butterfly at left; gold dots throughout background — Small plate with decor of flowers and butterfly, 1890s
Japan

G239

slightly flattened cylindrical form on raised foot; browns, olive green and cream thick glazes; has storage box — Tea bowl, 17th century
Japan

G224

squared form, with high walls; small ring foot; milky translucent glaze; stylized depictions of bridges and water, in brown — Serving dish with bridge and water, 17th century
Japan

G225

handled tray with short sides; light grey glaze with blue, green and gold leaves, vines and gourds; cutout gourd shapes — Tobacco tray, 18th century
Japan

G225

round teabowl pressed into asymmetrical shape; dark brown and tan glazes; light wavy parallel lines on exterior; has storage box — "Clog-shaped" tea bowl, 1614-1624
Japan

G224

skull with snake coiled on top; tail curving down back of skull; no lower jaw — Snake sitting on a skull, 19th century
Japan

Not on View

mouse with inlaid eyes and tail curved over proper right side of back crouching over a chestnut — Mouse with chestnut, mid 19th century
Japan

Not on View

lacquered writing box with heavily decorated cover and sides; zigzag down center divides pine tree with plum blossoms against a black background, from motif of chrysanthemums and leaves against reddish background; motifs continue on sides; ink stone and two empty boxes inside — Writing box with pines, plum, chrysanthemums, and paulownia, 16th century
Japan

Not on View

picnic set with four stacking bowls decorated with bands of flowers and foliage from each of the four seasons; sake flask created from bamboo, with bamboo leaf motif and crested flying birds; sides of caddy are decorated with wisteria; lid for stacking bowls features phoenix with chrysanthemum design; silver handle — Picnic set with plants from the four seasons, 18th century
Japan

Not on View

drum core in shape of two adjoined chalices; black lacquer with gold flecked grape vines, leaves, and squirrels — Large hand-drum core with grapevines and squirrels, late 16th century
Japan

Not on View

unsigned; image of two black lacquer kimono stands with different types of gold patterning, hung with various patterned kimono; koto (zither) in LRQ; tubular case with pink flowered brocade, pink tassels and gold bells hanging from right top corner of kimono stand at right — Whose Sleeves?, early 17th century
Japan

Not on View

unsigned; white deer wearing bells and an ornate saddle with a wisteria vine growing from it; golden circle within wisteria with three figures sitting cross-legged, and sitting with hands folded in front of chest, clasping small tablets, four of the figures are in white, and center figure is in red; mountains at top with colorful mounds, water below, and golden moon near top — Deer Mandala of the Kasuga Shrine, first half 15th century
Japan

Not on View

large jar with dark brown dripping over glaze and large rocky inclusions; wide shoulder, short neck, rolled lip; gnarled texture — Storage jar, 15th century
Japan

G222

turtle wrapped in a snake's coils — Snake curled around a turtle, late 18th-19th century
Unknown Japanese

Not on View

octagonal stepped base with lotus flower at top of base; clear glass globe at top with three vertical metal "flames" around it; glass globe filled with multicolored pebbles — Buddhist Reliquary in the Shape of a Wish-Granting Jewel, 16th-17th century
Unknown Japanese

G220

female figure seated with arms clasped toward chest; wearing court dress, with long, pleated hair; small crown on head; mounted to wooden screen on back — Shinto Goddess, 12th-13th century
Unknown Japanese

G220

seated male figure holding a court noble's scepter, with face and hairstyle of a Bosatsu; mounted to plaque on back; legs folded in lotus position — Shinto God, 12th-13th century
Unknown Japanese

G220

A Show of Horsemanship, Unknown Japanese — A Show of Horsemanship, second half 17th century
Unknown Japanese

G219

Bronze bell (Dotaku); Dotaku- Bronze Bell with so-called 'crossing bands' (in Japanese Kesadasuki) decoration. Fine natural green patina; no repairs, in excellent condition. Excavated at Chiwa-Yama, Yashu-gun, Ohmi Province (now Shiga Prefecture) in the 14th year of Meiji, or 1881 A.D. This was on the 14 bells found, the largest of which is now in the Tokyo national Museum. with a box authentication of Professor Sueji Umehara. Modern wooden storage box has authentication by Professor Umchara. — Ritual Bell (Dōtaku), 1st century BCE-1st century CE
Unknown Japanese

G205

Wheel of the Law, Buddhist (shingon sect.) gilded bronze — Chakra, 13th century
Unknown Japanese

G220

the Buddhist art of the Kamakura period in Japan (1185-1392) is one of the great religious arts and this thirteenth century painting on silk mounted as a hanging scroll is an elegant and fine example; the Descent of Amida (raigo) is represented; Amida Buddha is one of the leading gods of Buddhism whose cult enjoyed great power from the ninth century; he is usually shown, as here, descending to receive the adorer's soul, for he promises blissful and luxurious life in the next world; in the Mann painting he is accompanied by two divine attendants, the Bodhisattvas Sishi, shown adoring, and Kannon, shown with the Lotus Pedestal; similar but rather inferior figures to these appear in a celebrated early thirteenth century hanging scroll in the Senrin-ji, Kyoto; the Mann scroll is especially splendid not only for the refinement of its draughtsmanship, but for its color; on a muted black background, the figures are gold, the red lines of form being incisions through the gold leaf to the red ground; a light raw ochre halo surrounds Amida's head, the clouds are pale lavender; the use of color is thus austerely restricted, and there are only a few other touches Amida's lips are scarlet, there are pink and white ribbands and some of the precious stones of the jewelry are picked out in dull tints; the richness of the gold, especially against the black, makes for a stunning effect, and the precision of the tense, flowing drawing, incomparably skillful and delicate, can be contemplated with endless pleasure — Welcoming Descent of the Amida Buddha Triad, 13th century
Unknown Japanese

Not on View

unsigned — Whose Sleeves? [right of a pair], early 17th century
Unknown Japanese

Not on View

(One of a) Pair of War Stirrups, iron with silver inlay. Inscribed with maker's name. Kuniyuki, maker, sho worked in Knangawa. Wisteria and wave design in silver inlay. — (War Stirrup, one of a pair), 17th century
Unknown Japanese

G219

(One of a) Pair of War Stirrups, iron with silver inlay. Inscribed with maker's name. Kuniyuki, maker, sho worked in Kanagawa. Wisteria and wave design in silver inlay. — (War Stirrup, one of a pair), 17th century
Unknown Japanese

G219

Embroidered scene of the Golden Pavilion on one side and scene of Mount Fuji painted on silk on the other, black lacquer frame — The Golden Pavilion in Kyoto, early 20th century
Unknown Japanese

G239

golden figure with large halo seated on lotus platform, holding an object in hands at lap; accompanied by twelve motley attendants on either side, many holding weapons; standing figure on either side of lotus pedestal — The Healing Buddha (Yakushi Nyorai) and Twelve Generals, 14th century
Unknown Japanese

G220

Toilet box in shape of casket, cover with metal handle, inside decorated around and on top of a fitted tray with flower sprays. Aventurine and gold. Cover mottled gold and black with crescent moons. — (Small Box in the Shape of a Firefly Cage), 19th century
Unknown Japanese

Not on View

Tea Bowl roughly made; red glaze; man on a raft and seal in yellow paint on sides — Red tea bowl with fisherman, 18th century
Unknown Japanese

G224

one of a pair of auspicious folk art figures: Daikoku and Ebisu; man with hammer and sack — (Daikoku, from a pair of Daikoku and Ebisu), 19th century
Unknown Japanese

Not on View

Hanging scroll — Landscape, 18th century
Unknown Japanese

Not on View

thick green grasses with golden clouds and silver in background; scattered red and blue flowers, white flowers, lilies in foreground — Musashi Plains [left of a pair], Second quarter 17th century
Unknown Japanese

Not on View

images of men and women--primarily couples, several small groups of figures--of various ethnicities, wearing various costumes and with differing hairstyles and headgear; Asian, European, African and North American figures; map of Northern Hemisphere at end of scroll; inscriptions above each group of figures — People of Many Nations, 1649
Unknown Japanese

Not on View

unsigned; musicians and actors on stage at L with audience outdoors, looking on and talking to one another; fence and banners erected behind audience; building at R with men standing and talking behind walls, and others outside sitting and chatting — Okuni Kabuki, first quarter 17th century
Unknown Japanese

Not on View

unsigned — Taima Mandala, early 14th century
Unknown Japanese

Not on View

small dish with image of lighthouse on black rock; other black rocks at R; water at L; inscription bottom — Plate, early 20th century
Japan

Not on View

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